Her clothes are made entirely from the resources in and around the village. A mixture of animal furs and tree bark are meticulously woven and dyed in a ceremonial process that welcomes younger members of the tribe into more prominent ranks. Her clothing is light for manual labour and loose around the waist for long walking and running. Each of her tribe wears a red string in their hair as it is a mark of protection and duty. She is mostly a farmer who works with harvesting crops but is training to be a guard of the Kyr.
She is loyal to the teachings of the tribe leaders but is skeptical and is beginning to suspect them of keeping secrets.
Her ambitions are to quell allegations against her family and find out what happened to her father.
She is very close to her mother and was taught to hunt and defend by her father at a younger age.
She works hard at her tasks but finds it hard to let go of her bad moods. She has a harsh sense of humour normally but is more playful around her family.
She gets along with her peers but has a hard time connecting with them. She is more independent as a result and enjoys her own company.
Her best friend is a small herd dog called Benni.
She loves playing card games.
- Age: 16
- Lives in Okahn Village.
- Father (missing) was a hunter and one of the lead herders of the Kyr.
- Mother is a Farmer
- Only child
The name Okahn Is derived from Mōcana – मोचन a Nepali word meaning ‘liberation’ and ‘redemption’. The village is built using mainly the red bark trees surrounding the settlement. Each individual building is carved and decorated with unique superstitious heraldry with historic meanings that echo stories from past generations
Every building presents runes that are specific to each family, they are bound together using ancient woven fabrics. This symbolises the oath taken centuries ago to rebuild the lifeblood of the mountain.
Within the redwood is an elusive portal. What is within?
Kala will have to find out.
I begin with building a radio and a Hot air balloon in Maya using basic primitives. the challenge I faced with this was what to base the texture of the balloon on. Conventional balloon material is assembled with segmented Nylon or Dacron (a polyester) but lighting that kind of ribbed material would be difficult without having it rendered within its intended environment. Having the whole scene be set in a snowy mountainous environment would allow for basic global ambient light that I can easily colour correct in Nuke. The balloon print also went through some variations before coming to a ‘Grimms fairy tales meets the carnival’ vibe. I drew up a few colour variations in Photoshop before deciding on black and red inspired by Kim Newman’s ‘Anno Dracula’.
The radio was modelled after a 70s style transistor as I intended to hint at a time period. I also applied a bump map to it to make it appear cracked and dirty but I ended up having to delete it along with most other texture maps in the final cut as it took far too much time to render especially on something that could be addressed later on in nuke.
Breakdown of the cave scene passes.
1 Base texture
2 Base light
3 Mental ray lighting pass *raw*
4 Light adjustment and layers in After Affects
For the animated aspect of the shot Rosie drew up a story board of some creatures flying through the scene away from something bigger then have a giant eye open to suggest the awakening of whatever may be dwelling there. The camera will seem to be creeping into the scene as an observer as it is encountering this new environment for the first time.
We then sculpted the creature borrowing an asset I’d already built then morphing it and also the preset bat wings in the Maya sculpting preset meshes.
A challenge for all of us is the texturing – we had to balance a stylised aesthetic by designing appropriate textures or modifying the Maya and Mental Ray presets. The presets are much quicker to apply but some look out of place. To overcome this, we had many attempts at bringing assets into Mudbox and painting directly onto them which worked out very well and helped in bringing atmosphere to a rather basic wall texture. we tried to add stones and crevasses and even veins of crystal however the scene couldn’t render and would abort.
Putting veins into the walls worked very well on the initial import, unfortunate the render had issues executing the full render. Given more time we hope to correct this and give real depth to make the walls appear weathered and damp. I really enjoyed the control you get in Mudbox to fully customise the detail and will be exploring it for future projects.
A large part of this build was figuring out how to light a scene like this one because with all the freedom it gives for not having any ‘daylight’ you have to compensate in effectively illuminating the ambiance from another source. The light cone was a great way to highlight assets within the scene. The light is a Mental Ray light fog effect that is designed to look like moonlight. The cone primitive used in a previous version didn’t react at all when the creatures passed through it unlike the new beam that casts shadows and dust particles.
The some assets were removed in the final version as rendering caused a fatal error every time, I thought removing some of the geometry using a ‘material_x’ would reduce the information the machine had to process with light. It was finally discovered that this wasn’t the issue and there was a corruption with an object light within the eyeball. With this fixed it was a little late to re-build the other objects. This seemed to work out for the better with the scene having come out much darker than expected.